Jacob Szymanski

And so then you have to get creative.

Now, something I understood was that in audiobooks, sometimes they are, I don't know if it's in the contracts or not, but there's an understanding that an audiobook should be produced word perfect.

And other times it's not required to be word perfect.

How does that play into the whole situation?

That's so hard because I think the average length of a book is roughly like 80, 90,000 words.

And,

And authors and narrators can make simple mistakes like saying all of the sudden instead of all of us, all of a sudden, that's really easy to miss over hour long recording sessions.

I'm sure those kind of mistakes make it through, right?

I'm assuming you compile the retakes that need to be done so that narrators can come back and crank them all out one after another.

And then that goes back to another round of editing to like reinsert them into the timeline.

No, I just interview people who produce audiobooks all the time.

The way you put it, this all sounds so labor-intensive with a lot of people involved.

And to be fair, Penguin Red House Canada, the studio you guys have in Toronto, is one of the premier ones.

I know they do quite a lot of big books there.

I think you said there are two studios in that place.

But you mentioned that in every recording, there's obviously the narrator, an engineer, and a director.

That's a lot of people.

Yeah.

Yeah, I know that firsthand.

It's completely disorienting.